Docstoc

MUSIC IN ME Personal Since the IMC played a crucial role in my

Document Sample
MUSIC IN ME Personal Since the IMC played a crucial role in my Powered By Docstoc
					MUSIC IN ME
by Frans Wolfkamp


Personal
Since the IMC played a crucial role in my desicion I will start with the
personal motivation about the Music in the Middle East Program.
The dream that music can play a positive role in the conflicts in the
Middle East started in 1999 when I joined the IMC General Assembly
meeting in Jordan.
After the results of the Egyptian-Israeli Camp David meeting and later
even more after the Oslo agreements, rightly so or not, there was a period
of considerable optimism and hope.
During the meeting Mr. Edwin Seroussi from Jerusalem suggested that
the IMC could already welcome Palestine as a new member. Imagine, it
was an Israeli, in Amman, in the Arab world, asking not to wait for the
United Nations, but to go ahead and suggesting the representatives in the
music field from over seventy countries to accept the concept of
Palestine.
He got an ovation, which lasted for more than ten minutes!
Unfortunately in 2000 most optimism was annihilated again and since
then the situation in the Middle East seemed worse than ever. It is hard to
say what one should think about the current situation in regard to the
Roadmap for Peace as proposed by the so called quartet, the UN, the
U.S., Europe and Russia.
But the idea that music can play an important role, notwithstanding the
tragedy, has always lingered on in my mind.That music could countibute
to the sustainability when there would be peace was clear.
In the fall of 2002 when I started the Program I went with Mr. Frans de
Ruiter, the former President of the IMC and I went to see the Chef du
Cabinet of the UNRWA (United Nations Relief and Work Agency for the
Palestinian Refugees), Mr. René Aquarone, I still thought that it would be
possible. He brought us to a different approach.
Music or any other activities between Palestinian and Israelians were at
the current situation impossible and he advised us to look at the intire
region. He believes that music could also contribute to tolerance and
democracy and there could play a important role in the entire region. The
Program Music in the Middle East was born.
Frans Wolfkamp


                                   Page 1
From Music in ME to Music in the Middle East

Music in ME considers music as a unique power with the capability of
creating miracles. Music has no borders; music generates mutual
understanding and brings people together.
Music in ME supports the musical needs of individuals or groups to
whom music otherwise would be denied due to war, poverty and limited
access to music education.

There are a lot of this kind of area’s in the world, so why focused on the
Middle-East?
Because ongoing conflicts in the Middle East have hindered cultural life
for decades and have affected the social sustainability of the region.
Reinforcing cultural life by improving cultural infrastructure can boost
the creation of new grounds for lasting stability. Inside the international
community, millions of people share the idea that working on peace in
the Middle East -the cradle of our civilization- in practice means working
on peace in the world.
So the first important area for Music in ME is the Middle East and by
chance (!) in this case the ME is standing for the Middle East.


Mission statement


Music in ME wants to contribute to the

• preservation of musical heritage in the region
• social acceptance of music
• access to diversity of music
• employment opportunities in music
• development of musical education
• creation of new ensembles

By acting thus, Music in ME wants to be

- a tool to enrich human life
- a stimulator for democracy
- a contributor to the relieve of trauma and stress




                                   Page 2
PLANNING

Together with experts from the region (see list) we organized
expertmeeting every two or three months. They are the key persons to
decide about the strategy for the music life in the next decade.

We desigened a strategic plan for a period of ten years starting in 2004,
which will be carried out by private and governmental music institutions
in respective countries.

Long-term planning
Detailed project descriptions are available and contain information on:
•     content
•     responsibility
•     budget
•     funding
•     planning
•     follow up

Short-term planning
A number of projects will be set up for the period 2004–2006 focusing
on:
•     building up an organization and developing networks
•     keeping the momentum and the enthusiasm going to meet long-
      term objectives
•     designating pilot projects which are valuable by themselves and
      meanwhile are the starting point for an overall frame, and provide
      further experience

A detailed project plan for the various initiatives will be available
indicating:
•      content
•      key responsible institutions and individuals
•      indication of costs
•      details of actual plans
•      sources of funding for the projects
•      sustainability




                                    Page 3
CONTENT

The first step is the operation was to formulate the content.
The content is devided in five fields of music:


1.    Music and education
•     Developing curriculum and training programs for teaching music at
      regular schools, at music schools ( for youth and adults ) and in
      choirs.
•     Providing music lessons for children.
•     Providing material for music education practice
•     Setting up a curriculum for the preservation of regional vocal
      traditions and foundation for preservation of vocal tradition
•     Providing music instruments, through training instrument makers
      and by donation of instruments.
•     Providing special music instruments for the physically
      handicapped.

2.    Music Therapy
•     Establishing in close co-operation with the UNRWA special
      medical and socials programs using music therapy to assist the
      youth and woman.
•     Establishing in close co-operation with the Trauma Center of Israel
      multi- discipline programs using special medical and socials
      programs, different art forms and music therapy to assist stressed
      and traumatic people.
•     Establishing in close co-operation with the Saxion Conservatorium
      (Enschede, The Netherlands) special programs in which the
      therapy itself is combined with building up a team of music
      therapy-assistants.

3.    Performances
•     Development of performance centers in various locations in the
      region.
•     Touring and exchange of young talented musicians from the
      region, within and outside the region
•     Young ambassadors from all over the world giving concerts and
      running master classes
•     Encouraging amateur musical activities
•     Creating project for choirs


                                   Page 4
4.    Infrastructure development
•     Following the recommendations of the report ‘The Music Life in
      Palestine’
•     Establishing a new Department of Musicology as part of the
      Faculty of Art of the Jerusalem University
•     Construction of a Gaza Music Conservatory
•     Developing Performing Arts Centers in Beirut and Amman
•     Appointing and assisting liaison officers for the National Music
      Committees

5.    Documentation and preservation
•     Developing Music Information Centers in the participating
      countries.
•     Creating a Universal Music History Arab World.
•     Establishing music libraries
•     Recording, documentation and notation of oral music from the
      region.

Besides this general development strategy each country has his own
specific programs. In the appendix you will find those listed per country.


II    INTERNATIONAL NETWORK

1.    IMC Paris

It is essential to develop a true global organization and sustain an
international network to support fundraising activities required for the
successful completion of the program.
From the very beginning it was the idea to work very closely together
with the IMC.
It was the IMC General Assembly who brought the idea and the Music in
ME is a prototype of the aim of the IMC. Especially after the discussion
about the strategy of the IMC and the development of ManyMusics it was
clear that the IMC should play an important role.

The IMC, confronted with the idea, appointed a Task Force to see how it
could be linked with Music in ME. Criteria were formulated and several
models were discussed and researched with the help of two Dutch
specialized compagnies KMPG and Van der Bunt. In September 2003 the
Executive Committee of the IMC adopted unanumous the advice of the
Task Force to erect a new entity under the responsability of the IMC.


                                  Page 5
In the coming period a Business Plan 2004-2006, bylaws, contracts and
procedures will be made. The new entity is mainly responsible for the
development of the Program, the fundraising and the promotion and
communication. The IMC office will be responsable for handling for the
projects, like the IMC is doing for Unesco.

2.    National Music Councils (NC’s) in the participating countries

The NC’s in each country will function as the channel for the projects
who are ready to get implemented. Tne NC’s are also responsable for the
priority in their own country

3.    Fundraining foundations and committees

The Dutch Foundation Music in the Middle East so far is the craddle of
the idea. After the new IMC-Music in ME will be erected by the IMC,
under French or Dutch law, the exciting Dutch Foundation will be
focusing on fundraising only.
The same kind of foundations will be erected in Great-Britain and
Germany. For France, which a relatively large Arab population it will be
discussed if it is wise to fundraise for Music in ME by a new entity or by
the IMC-Music in ME.

In Canada and the U.S. fundraising is possible without a new entity, since
the IMC has an equivalent 501 C3 tax status, which allows compagnies
and individuals to substrect donation from their income.

4.    UNRWA

The experts agreed that half of the attention and budget of Music in ME
will be spent for Palestinians in the Gaza Strip, the West Bank and in the
refugee camps in Jordan, Lebanon and Syria. The circumstances in the
camps are uncomparible bad.
The UNRW (the United Nation Relief and Work Agency for the
Palestinian Refugees) is responsible for the education, shelter and
healthcare in all refugee camps and has about 22.000 perons on their
payroll.

In September 2003 the UNRWA decided to declare Music in ME as their
official partner and appointed Mrs. Angela Williams, director Syria as
their liason between UNRWA and Music in ME.

                          (organizion chart )


                                  Page 6
FUNDRAISING

As mentioned before fundraising will be starting in six countries: Canada,
France, Germany, Great-Britain, The Netherlands and the U.S.
For this reason I recently moved to New York for two years to find
substancial funding.
The first major fundraising Gala takes place on Wednesday November
12, 2003 at the Main Hall of the Concertgebouw in Amsterdam.
For the occoasion




IMPLEMENTATION

For the short term period 24 pilot project which are covering the music
fields and divided over the partipating countries for the next two or three
years.
In a seperate lecture I will explain more about the content and especially
the background for the choices.

I.    Musis and music education

1 Beirut. Instrumental lessons for students from 13-16 years

2 Beirut. Instrumental lessons for youngsters from 18-25 years

3 Damascus. Arab instrumental lessons for talented young children from
Palestinian refugee camps

4 Amman. Educational project for youngsters and young adults from
Palestinian refugee camps
5 Amman and Damascus. Master Classes and concerts by professors and
master-students

6 Amman. Professional Music Education for young Palestinians in
Refugee Camps in Jordan

7 Baghdad. Setting up music education facilities in Iraq



                                   Page 7
II    Music Therapy

8 Khan Younis. Gaza Strip. Music-therapy project

9 Bethlehem. West Bank. Music-therapy project

10 Jerusalem. Music-therapy project

11 Tel Aviv. Music-therapy project

III   Performances

12 Aleppo, Amman and Damascus. Concerts by international young
talents

13 Israel. Performances and facilities for the Arab-Jewish Youth
Orchestra

14 Middle East. Setting up an annual international young musicians
camp.


IV    Infrastructure development

15 Jerusalem. Supporting the Al-Urmawi Center for Middle-Eastern
Music

16 Damascus. Technical training of performing arts center staff

17 Gaza Strip. Setting up a Music School


V     Documentation and preservation

18 Middle East. Setting up a solid music notation system for traditional
and for Middle-Eastern contemporary classical music

19 Sayed Darwish,

20 Naima Al Masriyya

21 Egypt, Palestine, Israel, Lebanon, Syria and Turkey. Fishermen’s song
collecting project


                                  Page 8
22 Jordan and surrounding region. Collecting and indexing Bedouin
songs.

23 Baghdad. Set up for an Iraqi National Music Archive

24 Symposium on music creation and modernity in the Middle-East


PROMOTION AND COMMUNICATION

The speed and quality of development of Music in ME is depending on
the use of modern technology. Therefore there is not only a need for a
website and internet use, but the creation of a virtual office will benefit
the work enormous.


                    (organization chart www.musicinme.net)




                                    Page 9
Appendix 1

PROGRAMS FOR THE NEXT TEN YEARS PER COUNTRY

Egypt
•     Involvement in the Arab music heritage preservation project of the
      Cairo Opera House
•     Recording and notating of Arab music and Coptic music tradition
•     Music practice and creation of employment opportunities for
      young talents
•     Development of performing opportunities

Iraq
•    Preserving the Iraqi musical heritage
•    Assess the possible damage due to wars and a period of economic
     sanctions
•    Development of music education
•    Preserving traditional musical instruments and documenting and
     preserving the art of their manufacturing
•    Documenting the history of the great urban music traditions of
     Baghdad, Mosul and Kirkuk and their rich and diverse history,
     possibly as part of a cultural reconstruction project

Israel
•      Instrumental and vocal teaching in the rural areas outside the cities
•      Training qualified teachers for remote music schools
•      Arab-Jewish-Palestinian Youth Orchestra
•      Series of music camps for Jewish and Arab children, with concerts
•      Arab-Jewish youth choir

Jordan
•    Supporting the Arab Music Education and Research Center
•    Supporting the National Music Conservatory of Jordan
•    Development of regional projects for the pre-conservatory period
•    Maintenance of the House of Arts, Darat al Funun, in Amman

Lebanon
•    Establishment of the Performing Art Centers - Beirut
•    Documentation and notation book of Christian prayers
•    Create employment opportunities to avoid exodus of musicians
•    Recording and documentation of fishermen songs and maritime
     music
•    Similar to the indigenous music of the remote mountain areas


                                   Page 10
•     Researching the history of the great foreign Arabic singers who
      visited Lebanon so frequently in the past, like Umm Kulthumm,
      Nathim al Ghazali, Naima Al Masriyyah, and local singers of their
      past, like Noor al Huda, Suad Mohammed, and Ensaph Munir,
      involving radio archives /record comp.

Palestine
•     Development and preservation of popular art, starting small
      courses and classes, after that preservation of popular art resulting
      in a Popular Arts Center (PAC)
•     Education of musicians by starting a small office, followed by
      extension through branches resulting in a Educators, Musicians,
      Authors and Composers Center (EMACC)
•     Documentation and preservation, starting a small office, followed
      by extension with satellites and awareness resulting in Musical
      Documentation and Information Coordination Center (MDICC)
•     Musical edition and distribution
•     Instrument production and maintenance
•     Festivals and Concerts

Syria
•     Preservation of the musical heritage of folkloric and urban music in
      various regions
•     Development of music education at music schools
•     Creation of documentation centers
•     Assistance in setting up the new Opera House and assisting in
      setting up other future smaller scale performing arts centers,
      including training light and sound technicians
•     Preserving traditional musical instruments and documenting and
      preserving the art of their manufacturing
•     Documenting the history of the great urban music traditions of
      Damascus and Aleppo and the folkloric traditions of rural areas.
•     Documenting the history of the various Christian music traditions
      of Syria and the tradition of reciting the Holy Koran




                                  Page 11
Appendix 2

THE NETHERLANDS
Honorary & Advisory-board
Mr. Stef Collignon, Managing Dir. Polydor Universal Music Company
Mr. Arthur Docters van Leeuwen, CEO Supervision Financial Authorities
Mr. Herman Krebbers, violinist
Mr. Roel Pieper, ICT Entrepreneur, professor E-commerce, former Vice-
President Philips
Mrs. Marte Röling, artist
Mr. Frits Wester, Correspondent RTL Dutch Television

Members of the Board
Mr. Ben Dicker, Owner and managing director Dicker Business
Development B.V. President of the Institute of Music of the Cathedral
St.Bavo in Haarlem.
Mr. Steven Hond, CEO of Flevodruk Harderwijk
Mr. Albertjan Peters, Owner and managing director of Byvanck
Consultancy B.V., former President of The Hague University for
Professional Education
Mr. René Wolfkamp, CEO Schoeller Wavin Systems and former
Chairman of the Dutch Youth Orchestra

Music Therapy Committee in The Netherlands
Mr. Niek van Nieuwenhuijzen
Mrs. Gabi Wijzenbeek
Mr. Ingo Behrens
Ms. Nicolien Dijkshoorn
Mr. Daniel Herman Mosterd
Mrs. Ingrid Rollema
Ms. Jacqueline Rosdorff

The 12 November for Committee Gala
Scenario Event
Mr. Frans Storm, e-mail: info@scenario.nl
Mr. Theo van Ballegooy, coordinator
Lions Club Amsterdam Gijsbrecht van Aemstel
Mrs. Mirjam Verhagen, President
Mrs. Chantal de Vries Robbe
Mrs. Anouk Ferwerda
Mrs. Renate Beerens
Mr. Rene Knol
Mr. Menno Born


                                 Page 12
CANADA
Committee for Fundraising Events
Mr. Jacques Corriveau
Mr. Roger Legare
Mr. Johan Hanskamp
Mrs. Joyce Lavoi
e-mail: jlavoie@yul_downtown.hisselect.com

GERMANY
Developing Office Magdeburg
Mr. Theo van Ballegooy
e-mail: info@musicinme.com

GREAT BRITAIN
Developing office London
Mr. Faouzi Khatir
e-mail: faouzi@khafir.com

FRANCE
Office Paris
Ms. Silja Fischer, Executive Director
Ms. Caroline Decombris, Assistant
e-mail: imc@unesco.org

UNITED STATES OF AMERICA
Office New York
Mr. Frans Wolfkamp
Mr. Rubin Geurts
e-mail: info@musicinme.net

Management
Mr. Frans Wolfkamp, managing director
Mr. Sytze Smit, vice-managing director
Mr. Hans van Reeuwijk, office manager

Mr. Theo van Ballegooy, project manager
Mr. Neil van der Linden, project manager
Mr. Roy Voogd, project manager communications

Mrs. Annet Bruin, secretary
Ms. Daniëlle Kaandorp, designer
Mr. Jurgen Kleykamp, webmaster


                                 Page 13
MUSIC IN ME

Central office
P.O.Box 104
1860 AC Bergen
The Netherlands

Visiting address
Stoeterij “De Zwarte Schuur“
Eeuwigelaan 7
1862 CL Bergen
The Netherlands

T:    +31 (0)72 581 46 27
F:    +31 (0)72 589 96 94

E:    info@musicinme.net
I:    www.musicinme.net




                               Page 14

				
DOCUMENT INFO
Shared By:
Categories:
Stats:
views:37
posted:3/13/2010
language:English
pages:14
Description: MUSIC IN ME Personal Since the IMC played a crucial role in my